Ruggiero Ricci (violin)
Complete Decca Recordings
rec. 1950-74
ELOQUENCE 484 2150 [20 CDs: 1240]
Ruggiero Ricci’s association with Decca coincided with the advent of LP. At the time, English Decca were developing their ffrr (Full Frequency Range Recording) system. The violinist was one of the first artists to be recorded when stereophonic sound came in. Having said that, there’s roughly a 50/50 ratio of mono to stereo recordings here in this collection. The recordings span twenty-four years between 1950 and 1974, and are testimony to the violinist’s wide-ranging repertoire. In addition to this release, Eloquence have also issued a 9 CD set of the artist’s Complete American Decca Recordings set down between 1961 and 1970. My review of that set can be found here.
Ricci’s 1952 Beethoven Concerto with the London Philharmonic Orchestra directed by Sir Adrian Boult opens the collection. Not the best recording of this work I’ve heard, but it has its plus points. In addition to a certain patrician elegance, Ricci brings a wealth of interpretative insights. The slow movement is contoured with expressive delicacy, whilst the finale has its fair share of white heat and potent intensity. Ricci plays Kreisler’s cadenzas.
There are three versions of the Tchaikovsky Concerto. The earliest was set down in mono with Sir Malcolm Sargent and the New Symphony Orchestra. Sargent and Ricci remade it in stereo in 1961. This is a much finer recording in terms of sound quality, with more engaging interplay between soloist and conductor. A later Decca Phase Four stereo recording was made in 1974 with Jean Fournet and the Netherlands Radio Philharmonic. It doesn’t reach the passionate heights of the 1961 recording, which is the best of the three in my view. Ricci’s contributions in the Swan Lake excerpts are no match for those of Menuhin in his earlier 1958 recording with the Philharmonia Orchestra under Efrem Kurtz. Menuhin plays with much more fervent ardour.
In addition, there are two inscriptions of the Mendelssohn Concerto, both were taped in stereo. The earliest dates from 1957, where Ricci is partnered by the London Symphony Orchestra under the direction of Piero Gamba. It has the familiar pairing of the Bruch No 1. It’s enhanced by the conducive ambience of the Kingsway Hall. Both works are lyrically effusive, and Ricci eloquently projects the line, allowing the music to breathe naturally. The Mendelssohn finale is crisply buoyant, whilst the Bruch dazzles with verve and vigour. I much prefer this Mendelssohn to the 1974 version under Jean Fournet, which sounds fairly routine to my ears. The Dvořák Concerto with Sargent is both compelling and technically accomplished. In the slow movement, which forms the emotional heart of the work, there is fervour without over-sentimentality, with the Finale rhythmically engaging and permeated with Czech flavour.
In Paganini’s first two violin concertos, Ricci is partnered by the London Symphony Orchestra under Anthony Collins. Apparently the orchestral parts were edited by the conductor. A good thing in my view, excising most of those rambling tutti in the opening movement of the First Concerto. The recordings have had some previous currency. London’s Kingsway Hall provides an agreeable ambience for these 1955 recordings. Ricci is on top form and both works are played with dazzle and élan. The Sauret cadenza in No 1 is spectacular. Ravel’s Tzigane, certainly not lacking gypsy swagger, is the stereo filler on the disc. Here Ernest Ansermet directs L’Orchestre de la Suisse Romande in 1959.
Ricci’s and Ansermet’s two Prokofiev Concertos wouldn’t be my first choice in these two works. The Suisse Romande lack precision under Ansermet’s direction and Ricci all the while never really feels as though he’s inhabiting his comfort zone. I do prefer him in the Second Concerto, though, where some poetic moments and nostalgia make brief appearances. Ricci’s stereo recordings of the Sibelius and Khachaturian Concertos under Øivin Fjeldstad and Anatole Fistoulari respectively offer rich rewards. The Sibelius is magnificent in terms of potency, passion and thrust, and certainly gives Heifetz a run for his money. Although the Khachaturian Concerto is not a work I personally take to, I have to admit that Ricci’s is universally acknowledged as something of a reference recording.
Ricci pairs up with the young Friedrich Gulda for Beethoven's Sonatas for Violin and Piano Nos 7 and 10. The performances are stylish with plenty of character, contrasts and long singing lines. It’s a pity the collaboration stopped there and the two didn’t go on to record a complete cycle. Gulda was later to record all the cello sonatas with Pierre Fournier – a wonderful recording I would recommend.
On 17 December 1954, Ricci recorded the three Brahms violin sonatas with that notable Brahms interpreter Julius Katchen. They were set down in the violinist’s home using two microphones, with Ricci acting as producer and balance engineer. In July Decca insisted on the two artists remaking Nos 2 and 3 at the Decca Studios, West Hampstead in London. Quite why they didn’t include No 1 is a mystery. The earlier set have remained unpublished until now. Ricci said he preferred this earlier traversal, but I certainly don’t. I find the sound rough edged and lacking in finish, though a good balance has been achieved. The later West Hampstead studio recordings sound much more warm and refined. Both the 1954 and 1957 recordings are in mono.
Using the same technical set up in his New Jersey home, Ricci recorded the Richard Strauss and Prokofiev Second Violin Sonata with Carlo Bussotti on piano on 22 June 1953. These were the first LP versions of these two sonatas. The Strauss especially was positively received with Andrew Porter of the Observer commenting that it received “a confident, vital interpretation”. The opening movement is grand and heroic with a determined sense of purpose. The intensity and passion extends to the final movement, too. The central slow movement is infused with tenderness, with the muted middle section having a true improvisatory feel. Prokofiev’s Violin Sonata No 2 in D major is as good a performance as any I’ve heard, only surpassed by Fumiaki Miura and Itamar Golan's performance on Sony Japan, which I reviewed back in 2015 (review). The Scherzo is playful and teasing, and the Andante which follows has a glowing bucolic charm. In March 1954, Ricci and Bussotti also taped Weber’s Six Sonates Progressives for Violin and Piano, Op 10 in the home location. These compact works are an absolute delight contrasting heart-warming lyricism with rhythmically catchy dance movements. Ricci and Bussotti deliver readings of infectious brio.
Ricci relates that in 1946 he booked Town Hall, New York for an unaccompanied recital, much to the dismay of Mischa Elman who thought he was crazy. The recital was a triumph, and the solo recital was thus established as something of a speciality for him. Indeed, I attended one such solo recital he gave at the Buxton Festival in the 1980s. There’s a fair amount of solo repertoire in the collection. CDs 10 and 11 house two versions of Paganini’s Caprices. The earliest version dates from 1950 and is in mono, it’s the first recorded version in its original solo format, the second is a stereo version from 1959. The softer, warmer sound quality of the later traversal is preferable. Needless to say, the playing is spectacular, and Ricci negotiates every technical difficulty with aplomb. Solo repertoire is continued on CD 12, where this time the focus is on 20th-century works. It begins with a powerful and stirring account of the Bartók Sonata. Stravinsky’s Elegie is somberly declaimed. Prokofiev’s Solo Sonata was, in fact, premiered in Moscow by Ricci after the composer’s death a year before this 1960 recording was made. In three movements, the first is exuberant, the second is a set of variations, and the work concludes with a dance movement. Ricci delivers a polished performance with much to admire. Ricci’s take on the two Hindemith Sonatas is both lyrical and expressive, with the dance elements rhythmically pronounced. Bach’s G minor Sonata and D minor Partita date from 1957, but are no match, in terms of power and dynamism, for the complete cycle in the American Decca box.
CDs 18 and 19 feature the violinist in music he excelled in, namely the virtuoso showpiece. The pianist in these home recordings from 1954 is his teacher Louis Persinger. There’s a Sarasate album and one devoted to Paganini. The sound quality is a very decent mono in both cases. The virtuosity is spectacular and the fireworks stunningly impressive. Just listen to Paganini’s Variations on ‘God Save the King’, Op 9 and you’ll see what I mean. Persinger throughout is a dependable accompanist.
The Decca Eclipse LP ‘Virtuoso Showpieces’ was my introduction to Ricci’s playing years ago. Recorded in London in May 1958 it has stood the test of time. A stereo recording, the sound quality is excellent, showcasing the violinist’s rich vibrant tone. I don’t think I’ve heard Wieniawski’s Scherzo-Tarantelle played quite so fast, yet Ricci’s up-bow staccato in Elgar’s La Capricieuse doesn’t match the superior bite of Heifetz or Josef Hassid. William Kroll’s Banjo and Fiddle really romps along, with the violinist demonstrating some sparkling harmonics and impressive richochet bowing. He imbues Achron’s Hebrew Melody with melancholic yearning, registering a powerful climax. Bazzini’s La Ronde des Lutins ends the recital with a flash of scintillating virtuosity.
These excellent new remasterings come courtesy of Chris Bernauer. Eloquence have refurbished the sound well, conferring greater immediacy and life to the recordings. The CDs are issued in card sleeves with their original jacket liveries. There’s a nicely produced booklet containing some well-produced photographs and some interesting reminiscences on the recordings by Ricci himself. The collection’s completeness will greatly appeal to aficionados of great violin playing by an artist of commanding stature.
Stephen Greenbank
Previous review: Jonathan Woolf
Contents:
CD 1
LUDWIG VAN BEETHOVEN (1770–1827)
Violin Concerto in D major, Op 61
Ruggiero Ricci, violin; London Philharmonic Orchestra/Sir Adrian Boult
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
Violin Concerto in D major, Op 35, TH.59
Ruggiero Ricci, violin; New Symphony Orchestra/Sir Malcolm Sargent
MONO RECORDINGS
Recording Location: Kingsway Hall, London, UK, 26–27 January 1950 (Tchaikovsky), 18, 19, 22 January 1952 (Beethoven)
CD 2
NICCOLÒ PAGANINI (1782–1840)
Violin Concerto No 1 in D major, Op 6
Violin Concerto No 2 in B minor, Op 7
Ruggiero Ricci, violin; London Symphony Orchestra/Anthony Collins
MAURICE RAVEL (1875–1937)
Tzigane – Concert Rhapsody for Violin and Orchestra
Ruggiero Ricci, violin; L’Orchestre de la Suisse Romande/Ernest Ansermet
MONO RECORDINGS (Paganini) ∙ STEREO RECORDING (Ravel)
Recording Locations: Kingsway Hall, London, UK, 14 February 1955 (Paganini: Concerto No. 1), 18 February 1955 (Paganini: Concerto No. 2); Victoria Hall, Geneva Switzerland, 27–28 March 1959 (Ravel)
CD 3
JEAN SIBELIUS (1865–1957)
Violin Concerto in D minor, Op 47
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
Sérénade mélancolique; Scherzo (from Souvenir d’un lieu cher)
Ruggiero Ricci, violin; London Symphony Orchestra/Øivin Fjeldstad
ARAM KHACHATURIAN (1903–1978)
Violin Concerto in D minor
Ruggiero Ricci, violin; London Philharmonic Orchestra/Anatole Fistoulari
STEREO RECORDINGS
Recording Location: Kingsway Hall, London, UK, 2–3 July 1956 (Khachaturian), 10–15 February 1958 (Sibelius, Tchaikovsky)
CD 4
FELIX MENDELSSOHN (1809–1847)
Violin Concerto in E minor, Op 64
MAX BRUCH (1838–1920)
Violin Concerto No 1 in G minor, Op 26
Ruggiero Ricci, violin; London Symphony Orchestra/Piero Gamba
STEREO RECORDINGS
Recording Location: Kingsway Hall, London, UK, 15–16 January 1957
CD 5
SERGEI PROKOFIEV (1891–1953)
Violin Concerto No 1 in D major, Op 19
Violin Concerto No 2 in G minor, Op 63
Ruggiero Ricci, violin; L’Orchestre de la Suisse Romande/Ernest Ansermet
STEREO RECORDINGS
Recording Location: Victoria Hall, Geneva, Switzerland, 1–23 April 1958
CD 6
ÉDOUARD LALO (1823–1892)
Symphonie espagnole, Op 21
Ruggiero Ricci, violin; L’Orchestre de la Suisse Romande/Ernest Ansermet
PABLO DE SARASATE (1844–1908)
Carmen – Fantaisie de concert, Op 25
Zigeunerweisen, Op 20 No 1
CAMILLE SAINT-SAËNS (1835–1921)
Havanaise, Op 83
Introduction et Rondo Capriccioso, Op 28
Ruggiero Ricci, violin; London Symphony Orchestra/Piero Gamba
STEREO RECORDINGS
Recording Locations: Victoria Hall, Geneva, Switzerland, 27–28 March 1959 (Lalo); Kingsway Hall, London, UK, 28–29 September 1959 (Saint-Saëns, Sarasate)
CD 7
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
Violin Concerto in D major, Op 35, TH.59
ANTONÍN DVOŘÁK (1841–1904)
Violin Concerto in A minor, Op 53, B.108
Ruggiero Ricci, violin; London Symphony Orchestra/Sir Malcolm Sargent
STEREO RECORDINGS
Recording Location: Kingsway Hall, London, UK, 5, 6, 11 January 1961
CD 8
FELIX MENDELSSOHN (1809–1847)
Violin Concerto in E minor, Op 64, MWV O14
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
Violin Concerto in D major, Op 35, TH.59
Swan Lake, Op 20 (excerpts)
Ruggiero Ricci, violin; Netherlands Radio Philharmonic Orchestra/Jean Fournet (Concertos); Anatole Fistoulari (Swan Lake)
STEREO RECORDINGS
Recording Location: AVRO Studio, Hilversum, The Netherlands, August 1974 (Concertos), 20–22 December 1972, 4–9 May and 12, 13 & 27–29 September 1973 (Swan Lake)
CD 9
PYOTR ILYICH TCHAIKOVSKY (1840–1893)
Suite No 3 in G major, Op 55
Suite No 4 in G major, Op 61 ‘Mozartiana’
Ruggiero Ricci, violin; L’Orchestre de la Suisse Romande/Ernest Ansermet
STEREO RECORDINGS
Recording Location: Victoria Hall, Geneva, Switzerland, 9–11 December 1966 (Suite No 3), 15, 17 December 1966 (Suite No 4)
CD 10
NICCOLÒ PAGANINI (1782–1840)
Caprices, Op 1 (1950 Recording)
MONO RECORDINGS
Recording Location: Victoria Hall, Geneva, Switzerland, July 1950
CD 11
NICCOLÒ PAGANINI (1782–1840)
Caprices, Op 1 (1959 Recording)
STEREO RECORDINGS
Recording Location: Victoria Hall, Geneva, Switzerland, 1–9 April 1959
CD 12
BÉLA BARTÓK (1881–1945)
Sonata for Solo Violin, Sz.117
IGOR STRAVINSKY (1882–1971)
Elégie for Solo Violin
SERGEI PROKOFIEV (1891–1953)
Sonata in D major for Solo Violin, Op 115
PAUL HINDEMITH (1895–1963)
Sonata for Solo Violin, Op 31 No 1
Sonata for Solo Violin, Op 31 No 2
STEREO RECORDINGS
Recording Location: Victoria Hall, Geneva, Switzerland, 7–9 April 1960
CD 13
JOHANN SEBASTIAN BACH (1685–1750)
Sonata No 1 in G minor for Solo Violin, BWV 1001
Partita No 2 in D minor for Solo Violin, BWV 1004
CARL MARIA VON WEBER (1883–1945)
Six Sonates Progressives for Violin and Piano, Op 10
Carlo Bussotti, piano
MONO RECORDINGS
Recording Locations: Decca Studio 2, West Hampstead, London, UK, 22–24, 29 January 1957 (Bach); New Jersey, USA, 17 March 1954 (Weber)
CD 14
RICHARD STRAUSS (1864–1949)
Violin Sonata in E-flat major, Op 18
SERGEI PROKOFIEV (1891–1953)
Violin Sonata No 2 in D major, Op 94a
Carlo Bussotti, piano
MONO RECORDINGS
Recording Location: New Jersey, USA, 22 June 1953
CD 15
LUDWIG VAN BEETHOVEN (1770–1827)
Violin Sonata No 7 in C minor, Op 30 No 2
Violin Sonata No 10 in G major, Op 96
Friedrich Gulda, piano
MONO RECORDINGS
Recording Location: Decca Studios, West Hampstead, London, UK, 24–26 February 1954
CD 16
JOHANNES BRAHMS (1883–1897)
Violin Sonata No 1 in G major, Op 78
Violin Sonata No 2 in A major, Op 100
Violin Sonata No 3 in D minor, Op 108
Julius Katchen, piano
PREVIOUSLY UNPUBLISHED 1954 RECORDINGS. MONO RECORDINGS
Recording Location: New Jersey, USA, 17 December 1954
CD 17
JOHANNES BRAHMS (1883–1897)
Violin Sonata No 2 in A major, Op 100
Violin Sonata No 3 in D minor, Op 108
Julius Katchen, piano
MONO RECORDINGS
Recording Location: Decca Studios, West Hampstead, London, UK, 22–24 and 27 July 1957
CD 18
PABLO DE SARASATE (1844–1908)
8 Danzas Españolas
Caprice Basque, Op 24
Introduction et Tarantelle, Op 43
Zigeunerweisen, Op 20
Louis Persinger, piano
MONO RECORDINGS
Recording Location: New Jersey, USA, January 1954
CD 19
NICCOLÒ PAGANINI (1782–1840)
Le Streghe, Op 8 (arr. Kreisler)
Fantasia on the G string (after Rossini’s ‘Mosè in Egitto’)
Moto perpetuo, Op 11
Introduction and Variations on ‘Nel cor più non mi sento’ for solo violin
Variations on ‘God Save the King’, Op 9
La Campanella (arr. Kochanski)
Sonata in E minor, Op 3 No 6
I Palpiti, Op 13 (arr. Kreisler)
Louis Persinger, piano
MONO RECORDINGS
Recording Location: New Jersey, USA, 17 March 1954
CD 20
HENRYK WIENIAWSKI (1835–1880)
Scherzo-Tarantelle, Op 16
EDWARD ELGAR (1857–1934)
La Capricieuse, Op 17
FRANZ VON VECSEY (1893–1935)
Caprice No 1 for Violin and Piano: Le Vent
WILLIAM KROLL (1901–1980)
Banjo and Fiddle
FRÉDÉRIC CHOPIN (1810–1849)
Nocturne No 20 in C-sharp minor, Op. posth. (Trans. Milstein)
BEDŘICH SMETANA (1824–1884)
Andantino (Z domoviny)
JOSEF SUK (1874–1935)
Burleska (Four Pieces for Violin and Piano, Op 17 No 4)
JOSEPH ACHRON (1886–1943)
Hebrew Melody
PABLO DE SARASATE (1844–1908)
Jota aragonesa, Op 27
JENŐ HUBAY (1858–1937)
Der Zephir (from 6 Blumenleben for Violin and Piano, Op 30 No 5)
MORITZ MOSZKOWSKI (1854–1925)
Guitarre, Op 45 No 2 (arr. Sarasate)
ANTONIO BAZZINI (1818–1897)
La Ronde des Lutins – scherzo fantastique, Op 25
Ernest Lush, piano
STEREO RECORDINGS
Recording Location: Decca Studio 1, West Hampstead, London, UK, 5, 7, 9 May 1958
